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The late Tommy Hoehn stands as a good example of a talented musician who enjoyed local attention (in this case the locality was Memphis, Tennessee), but never managed to transition that to the national level.

A talented singer, writer, and keyboard player, Hoehn knocked around the Memphis music throughout the '70s. His initial brush with success came as a back-up singer, supporting a late-inning version of Big Star and working with the criminally overlooked The Scruffs. He attracted some attention with his locally released debut single:

- 1977's 'Blow Yourself Up' b/e 'Love You (All Day Long) (Power Play catalog number PP 1954)

The track was subsequently included on a compilation album - Rhino's "D.I.Y.: Come Out and Play: American Power Pop (1975-78)". (As an aside, the album includes material by Big Star's Chris Bell ('I Am the Cosmos') and The Scruffs ('My Mind').

On the heels of his self-released 1977 album "Spacebreak", Hoehn was signed by London Records. Released in 1978, "Losing You To Sleep" basically served to repackage and polish the earlier album, adding one new song to the track listing ('Fresh Matches'). In spite of the title and cover art that left you with the impression this was going to be a hyper-sensitive collection of singer/songwriter angst, the album featured a top-notch collection of mid-'70s power pop. Showcasing all original material, the collection also benefited from backing from a first-rate band (drummer John Hampton, guitarist Gene Nunez, and bassist Keith Young). Exemplified by highly commercial tunes like 'Hey Polairty!', 'The Heat', and 'Fresh Matches' there were certainly resemblance to Big Star, a more polished version of The Scruffs, or a Southern-tinged version of Eric Carmen and the Raspberries, which meant anyone who loved those outfits was liable to go for this one as well. The added thing I've always loved about Hoehn was his affection for clever word play ... Hoehn may have churned out wonderful pop tunes, but on tracks like 'Hey Polairty' and 'Sight You (Anytime)' he wanted nothing to do with run of the mill moon-in-June lyrics, instead seemingly worshipping at the same creative alter that inspired bands like 10C.C., Todd Rundgren, and the goofy Sparks.

One of the album's most commercially viable, the bouncy (almost hypnotic), keyboard-powered 'Hey Polarity!' almost sound like something a Memphis-based version of ABBA might have recorded. Who would have thought you could write such a catchy tune around a weird title like that ? Winner. rating: **** stars

'Losing You To Sleep' was a smooth, keyboard-propelled, mildly-jazzy track that almost sounded like it had a bossa nova influence buried in its soul. Admittedly this wasn't initially one of the tunes that stuck with you, but given a couple of spins, if crept into your head and wouldn't leave. Nunez turned in one of his best solos on the tune. Always liked the slinky, kind of sleazy edge Hoehn employed in his voice. London tapped the song as an instantly forgotten single. rating: **** stars

Nice slice of guitar-propelled, power-pop that actually reflected a bit of jittery new-wave energy. This time out the spotlight was on guitarist Nunez who simply shredded the tune. To be honest, Hoehn's voice sounded a bit strained on this track, but it did rock out. rating: *** stars

The first mild disappointment, 'She Might Look My Way' was a pretty enough acoustic ballad, but just never kicked into gear. Strange given it was co-written by Alex Chilton. rating: *** stars

'Fresh Matches' was another, raucous, bouncy tune that may have owed more than a little to the Paul McCartney school of hooks. Would have made a great single. rating: **** stars

To be honest, the remake of 'Blow Yourself Up' did nothing to improve on the earlier single. It remained interesting for the distinctive English rock flavor - to my ears this one always sounded a bit like a good Badfinger tune. Another track that was very radio friendly. Shame on London for missing the opportunity to promote it. rating: **** stars

More glistening Badfinger-styled pop; 'I Know I Love You' was a wonderful mid-tempo ballad that someone like Eric Carmen would have gladly have sacrificed a drummer to write and record. Nunez's scratchy solo was just icing on the cake. rating: **** stars

Another bouncy rocker that showcased Hoehn's love of clever wordplay. Imagine 10C.C. had they been from Memphis. rating: **** stars

Remember how Paul McCartney used to shout to roughen up his voice before singing a hard rocker like 'Helter Skelter'? Well, Hoehn seems to have done something similar with 'Fight You Anytime'. The result was one of the album's best tunes. Interestingly, the secret weapon on this one came in the form of Young's wonderful bass lines. rating: **** stars

- 1978's 'Losing You To Sleep' b/w 'Fight You (Anytime)' (London catalog number 5N-271)

Great and completely overlooked album. Find a copy before the rest of the world does and it becomes as expensive as a Big Star original.

One of the highlights of writing about obscure LPs is occasionally hearing from people involved with these projects.

Hi there! I’m Gene Nunez....the guy you mention a few times in the review of Tommy Hoehn’s “Losing You To Sleep” album. Glad to see this forgotten gem reviewed and immortalized and I appreciate some of the comments that appear about my own playing on that record! Did want to mention that there are a couple of album credit inaccuracies. (The original London Records and Power Play versions are a bit vague, so I understand this.) I actually played the bass on every cut on that album EXCEPT: “Fresh Matches” (which was Keith Young and the only actual studio cut that utilized the entire Tommy Hoehn Band), “Blow Yourself Up,” “I Know I Love You Now” and “Mean Nancy” (all of those, I believe, had Rick Clark on bass; they were cut before I was brought into the project. My 12-string rhythm track and guitar solo on “I Know I Love You Now” were overdubs.) The remaining cuts were all cut at Ardent starting with a rhythm section of Tommy on piano; me on bass, and John Hampton on drums; we overdubbed guitars, and on all the tracks on that records except the aforementioned, they’re all me. Also... the writer’s credit on “The Heat” says “Tommy Hoehn – David Nunez.” Not sure how that happened or who “David” is...I’m actually co-credited and copyrighted as such for the co-writer on that tune.

Gene Nunez (April 2014)